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Grade: B-/B
Entire family: No
2018, 101 min., Color
Music Box Films
Not Rated (would be PG for adult situations and some language)
Aspect ratio: 2.35:1 widescreen
Featured audio: German and French Dolby Digital 5.1
Bonus features: B
Amazon link

Although Transit isn’t rated, there’s technically nothing in it that would prevent entire families from watching. There’s not much in the way of language, no nudity or sex, limited alcohol and smoking, and the closest thing to violence are forcible arrests, mostly in the background.

But this isn’t the kind of film an American family typically watches. The language is German and French, with English subtitles. It’s a slow-moving drama that eschews the Hollywood plot arc for a structure that allows viewers to appreciate the directionless predicament of trying to maintain any kind of relationship in a country led by an oppressive regime. This film also embraces anachronism, which can be just a little too artsy for some viewers. Though Transit is based on an Anna Seghers novel that takes place in Marseilles, France in 1940 soon after the Nazi occupation, director Christian Petzold chose to set the film in an unspecified present. The Germans are called “fascists,” not “Nazis,” and while there’s talk of rounding up Jews, there isn’t a Nazi uniform in sight. Petzold said he wanted to blur the novel’s setting so that the issues would resonate with current world events.

And you know what? That blurring is a big reason why parents with older children might like to give this film a shot. Transit does resonate, and in an uncomfortable way if you happen to be among the 59 percent of Americans who disapprove of Trump’s immigrant detainment camps and expansive ICE raids. There are characters here that viewers can identify with that can help them understand how common it is to be “illegal” in a country and how frightening it is when the government decides to launch a purge. Illegals aren’t just displaced physically. There’s also a mental and emotional dislocation that occurs. Add the complications that accompany almost any relationship, whether family, friend, or significant other, and it makes for all sorts of issues to discuss after watching the film together.

In Transit, Franz Rogowski, who bears a slight resemblance to Joaquin Phoenix, plays Georg, a German refugee trying to stay one step ahead of the raids by German occupiers to round up illegals in Paris and then other French cities. Two things further complicate his attempts to leave Europe for an America that today might turn him away: a growing fascination with the young boy (Lilien Batman) and deaf-and-dumb widow (Maryam Zaree) of a man who was fleeing with him but died on the train, and a romantic attraction to a woman (Paula Beer) who is trying to find her writer-husband, not knowing that Georg came into possession of the writer’s last manuscript and letters and had been using his name to try to get papers of transit. If any of this sounds a little like Casablanca, the only resemblance, really, is that Georg tries to help a woman he obviously loves to escape from France with the doctor (Godehard Giese) she was living with. Other than that, Transit is its own film, and Petzold manages to craft a palpable tension that holds you until the end credits.

If you decide to rent, buy, or stream this film, be careful to get the 2018 film by Petzold that was released in the U.S. in 2019—not on of the other seven films titled Transit (including the most famous, the Jim Caviezel action flick). Petzold’s film was a New York Times Critics’ Pick and a darling of international film festivals, and it earned a 95 percent “fresh” rating at Rotten Tomatoes. I agree, but for some families the slow pace might seem like a flaw, and for those caught up in the realism of the drama (rather than the philosophical and existential issues) might find the repetition of a very distinctive question from two different sources a bit jarring. But still, it’s a good film to provoke thought and discussion.

Language: Fewer than a dozen minor swearwords

Sex: A man and woman are shown to have come from the same bed, but there’s nothing graphic

Violence: Mild, with a woman dragged off by authorities at close range and only a few forcible arrests made in the background; a man is said to have killed himself but only a bloodied bathtub is shown from a distance

Adult situations: Aside from the usual smoking and drinking there is another death and those that remove the body complain about the stench 

Takeaway: Slow-moving or not, and ponderously existential or not, Petzold’s Transit is a perfect film to watch during these imperfect times


Review of SHAZAM! (2019) (Blu-ray combo)

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Grade: B
Entire family: No (really!)
2019, 132 min., Color
Action-Adventure Comedy
Warner Bros.
Rated PG-13 for intense sequences of action, language, and suggestive material
Aspect ratio: 2.40:1 widescreen
Featured audio: Dolby Atmos-TrueHD
Bonus features: B
Includes: Blu-ray, DVD, Digital
Amazon link

In Shazam!, a teen foster kid turns into a fully costumed adult superhero with a lightning symbol on his chest every time he shouts “SHAZAM”—the name of an ancient wizard who passed along his power to the lad because he was “pure of heart.”

Except that in the early going we watch this Philly kid trick cops into a store, lock them in, steal the cop car, and, adding insult to injury, eat the driver’s steak sandwich and fries. Needless to say, Billy (mostly played by Asher Angel) has been in and out of foster homes for many years because of such delinquent behavior. But the message here comes across loud and clear: kids who do bad things can still be good, and let’s give a shout-out to all the foster parents out there who give them a chance. At one point we even see a close-up of his new foster’s car and the bumper sticker “I’m a foster mom—what’s your superpower?” Another theme that emerges is “Fosters are family,” something that’s reinforced by a third act team effort that’s needed to beat the evil supervillain.

But you might want to pay attention to that PG-13 rating, which, these days, means children 10 and older. The film gets off to a slow start, for one thing. The first-act set-up can seem both confusing and tedious to younger viewers because it intercuts the villain’s childhood back story with current attempts by foster-kid Billy to locate the mother he lost at a carnival when he wandered off many years ago. But just as Billy has a dual identity—kid and adult—this film at times seems great for kids, while there are other times when those kids had better leave the room . . . or be traumatized.

Truly frightening things happen when the seven deadly sins are personified as real monsters that do some really monstrous things—like biting people’s heads off. And the supervillain (Mark Strong as Dr. Thaddeus Sivana) is pretty darned menacing as the bitter adult version of a child once summoned by the wizard, but rejected . . . and by his father, as well, who blames him for a car accident that’s graphic enough that small children might fear everyone has been killed or seriously mutilated.

It’s too bad that there’s such an extreme level of violence and traumatic situations, because once Billy finds out he can turn into a superhero and back again by shouting the wizard’s name, there are fun homages to Big, that great Tom Hanks film about a boy who turns into a man and still has the mindset of a boy, as happens here. There’s even a scene where Billy-as-Shazam finds himself standing on a big keyboard. At another point Billy-as-Shazam goes into a convenience store with his foster brother and sidekick, the disabled and nerdy Freddy (Jack Dylan Grazer). Billy asks for “some of your best beer,” and a bemused clerk points the way. As they grab a six-pack, hoodlums try to rob the cashier. Go save the day, Freddy coaxes. When Billy-as-Shazam is shot point blank and the boys realize he can stop bullets the way Superman can, the scene is played totally for laughs. So are many others. Yet, such comic scenes are balanced by those scary moments—none of which I’ll describe here, because they depend in part on shock value.

A film like this might have been great for all ages, the way PG-13 Star Wars films are, but because of its split personality Shazam! is only recommended for children ages 10 and up. Maybe it’s just as well. Much of the film is a clever and funny satire of superhero conventions, with subtle allusions that might fly over the heads of younger viewers. Yes, it’s Big meets The Sorcerer’s Apprentice, but because of the fun that writers Henry Gayden and Darren Lemke have with the whole idea of superheroes, Shazam! also manages to carve out its own identity.

Language: No f-bombs but a few middle fingers plus numerous lesser swearwords (hell, damn, ass, shit, nipples, boobies, suck balls, etc.

Sex: Nothing here except the implied

Violence: A bloody car accident leaves you hanging, a man is executed in shocking fashion, and the Seven Deadly sins stab, strangle, mutilate, and eat people.

Adult situations: Billy-as-Shazam goes to a strip club (only building exterior shown), buys and briefly drinks beer, and the two boys talk about people on drugs.

Takeaway: This Shazam! beats the previous film and television series because of its humor and wink-wink satire of the superhero genre (“Oh, you’re monologuing? I can’t hear you because of . . . .”)


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Grade: B+
Entire family: No
2018, 123 min., Color
Biography, Drama
Music Box Films
Not rated (would be R for nudity, drunkenness, and adult situations)
Aspect ratio: 2.35:1 widescreen
Featured audio: Swedish Dolby Digital 5.1
Bonus features: B-/C+
Amazon link

Astrid Lindgren wrote more than 30 children’s books and is the fourth most translated children’s writer in the world. To American audiences, her best-known creation was Pippi Longstocking, born one day when Lindgren’s daughter was home from school sick and asking for a story to help her feel better.

The Swedish-language (with English subtitles) biopic Becoming Astrid implies that the film’s narrative will reveal how Lindgren became one of the world’s most beloved children’s book authors, and that fans of her books will be able to connect more deeply with her after seeing the this 2018 drama. Well, they can . . . but not as directly as one might imagine.

There’s no way to describe the essence of the film without spoilers, but I’ll warn everyone right now that Becoming Astrid is for adults only. There is frontal female nudity and a plot that revolves around an illicit affair between a 16-year-old girl and a man her father’s age. This biopic begins with a 90-something Lindgren opening birthday wishes from thousands of readers worldwide, with one fourth grade class sending an audio tape that she plays. From time to time as we watch a flashback and presumed recollections of a significant period in the author’s life, circa 1924-31, we hear a voiceover of that tape, reminding us of the influence that Lindgren had on young people. Without that tape, there’s no connection between what happens on the screen and the success that Lindgren would become.

There are many reasons to watch this film. It’s beautifully shot and directed, and fans of author biopics get a compelling narrative that seems to run absolutely counter to expectations one might have for the life story of a beloved children’s book author—a film in which we can perceive a change in Lindgren’s demeanor. Early on she’s the ugly duckling who’s never asked to dance, but gets on the dance floor anyway, crazily moving so that her two long braids fly all over the place. She’s a good speller who had an essay about her family’s farm in Smaland published in the local paper—one reason why the editor hires her as an intern/secretary/writer. But throughout the course of a life that turns hard, we can see the optimism and energy flag slightly. Later it will reappear and reignite her imagination as she begins to write children’s books, but there is no writing of children’s books in this film. This is the down period in her life, one that no doubt shaped her resolve and explains the bond she feels with children.

Alba August is a revelation as Astrid Lindgren, a charismatic and compelling presence in every scene, no matter what emotion might be called for. Her transformation from girl to woman and her portrayal of the conflicts in Lindgren’s heart are nothing short of phenomenal.

But the title is misleading. This is a different kind of coming-of-age story that has very little to do with writing and everything to do with family rhythms and dynamics. It’s a prodigal son story, a finding-your-way in the dark kind of story. That sounds pretentious, but Becoming Astrid is, as The New York Times said, “refreshingly candid.” We get glimpses of a Swedish family in the 1920s as they work together on the farm, worship together in a little church up a grassy hill, and cut loose in moments of family fun and frivolity. We get equally candid glimpses of a relationship from its barely flirtatious beginnings to an ending that’s surprisingly civil.

There’s an undercurrent of warmth and stoic suffering in Becoming Astrid that carries the film every bit as much as August’s winning performance and Erik Molberg Hansen’s lyrical cinematography. Just don’t expect a film that directly explains how Lindgren became a best-selling and beloved children’s book author. This is a compelling backstory without a pointed connection to the future . . . except for those children’s testimonials inserted among the birthday wishes.

Language: A few minor swearwords, but that’s it

Sex: Extended scenes of full frontal female nudity and a sex scene with implied thrusting

Violence: Nothing here

Adult Situations: Some characters smoke throughout the film, and there is some drinking and drunkenness; a scandal results from an adulterous affair and pregnancy

Takeaway: If Alba August makes an English language picture, I suspect we’ll see career take off—she’s that good